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How  To 

Make  Type 

Talk 


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LIBRAR 

SCHOOL 


HOW  TO  MAKE 
TYPE  TALK 


HOW  TO 
MAKE  TYPE  TALK 


The  Relation  of  Typography 
to  Voice  Modulation 


Basic  Principles  as  Developed  and  Proven 
in  Actual  Practice 

by 

Barnard  J.  Lewis 


of  The  Stetson  Press,  Incorporated 
Boston 


PUBLISHED  BY 

THE  STETSON  PRESS 


INCORPORATED 


BOSTON 


Copyright,  1914 

by 

The  Stetson  Press,  Inc. 

Boston 


^NuulSH   I 


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; 


FOREWORD 


K 


OW  TO  MAKE  type  talk"  was  originally  a  twenty-minute 
paper  delivered  at  the  Toronto  Convention  of  the  Associated 
Advertising  Clubs  of  the  World. 

The  manner  in  which  it  was  received  was  an  encouragement 
to  put  the  "paper"  into  book  form,  with  a  few  simple  illustra- 
tions to  carry  the  points  covered. 

No  pretense  has  been  made  to  cover  illustration,  color, stock, 
etc.,  in  relation  to  typography,  owing  to  subject  limitation. 
Neither  has  any  attempt  been  made  to  extravagantly  show 
finely  illustrated  composition  such  as  may  be  found  in  leading 
magazines,  catalogs  and  books. 

While  "  How  to  Make  Type  Talk"  is  far  from  being  a  text- 
book, it  should  however  be  a  great  help  to  a  clearer  knowledge 
as  to  just  what  constitutes  effective  typography, — why  it  is 
worth  striving  for, — and  how  to  achieve  results  with  minimum 


•  . 


HOW  TO  MAKE  TYPE  TALK 


T 

.Xypes  talk,  though  voiceless,  —  through  the  medium  of 
expression,  both  facial  and  physical.  Facial  because  of  the 
many  styles.  Physical  because  of  the  many  sizes  of  each  style. 

Language  is  language, — and  is  equally  recognized  as  such 
by  the  sense  of  sight  as  well  as  by  the  sense  of  sound.  So  that, 
when  types  are  put  into  words,  these  words  mean  just  as  much 
to  the  mind  as  though  they  were  actually  spoken, — provided 
that  the  voice  was  properly  interpreted. 

The  voice  carries  the  maximum  of  human  expression,  be- 
cause it  is  natural  and  requires  no  special  effort.  Types  in  them- 
selves being  voiceless,  but  with  the  ability  of  expression,  must 
be  humanized, — and  this,  unlike  the  voice,  requires  consider- 
able effort  and  study. 

We  all  recognize  the  difference  between  light  and  heavy 
types.  Between  sloping  and  upright  types.  Between  slender, 
and  round,  and  fat  types.  And  so  on,  down  through  innumer- 

[7] 


abie  comparisons^  Arid  that  all  these  differences  affect  our  feel- 
ings to  a  greater  or  lesser  degree.  While  the  layman  simply 
knows  that  it  either  pleases  or  displeases  him,  the  trained  mind 
knows  why  and  can  explain  it.  And  because  the  layman  is  in 
the  vast  majority,  and  it  is  the  majority  who  are  the  buyers  of 
merchandise,  we  must  know  how  to  please  him  without  his 
realizing  how  hard  we  play  for  his  attention. 

In  other  words, — our  words  on  paper  must  look  as  natural 
and  as  sincere  as  these  same  words  sound  when  spoken  with 
all  warmth  and  expression  of  the  voice. 

The  voice  speaks  softly  at  times,  harshly  at  other  times — 
emphasizes  out  of  hundreds  of  words,  one  or  many  words  or 
sentences.  Pauses!  Hammers  home  a  particular,  striking  fact 
or  word.  Commands!  Attracts! 

Here,  then,  we  have  our  cue  on  how  to  make  type  talk. 

Type  faces  have  expressions  that  will  look  the  part  of  the 
voice.  Soft  tones — light  types.  Heavy  tones — heavy  types. 
Pauses — white  space.  Effeminate,  Masculine  and  Ecclesiasti- 
cal types.  Full,  round  tones — round  types.  Sharp  tones — types 
with  sharp  serifs.  Every  different  intonation  calls  for  a  con- 
trast. While  with  the  voice  there  are  no  limits  to  these  con- 
trasts, too  many  type  contrasts  offend  the  eye.  Or,  to  use  the 
old  expression, — too  much  display  is  no  display. 

[8] 


Here,  then,  is  our  problem:  How  to  get  a  great  deal  of  ex- 
pression into  comparatively  few  words,  giving  all  necessary 
information,  and  to  attract  and  hold  the  attention  of  the  reader 
from  start  to  finish. 

Now  to  work ! 

To  begin,  we  start  with  the  copy  and  a  given  space  to  carry 
it.  We  separate  the  most  important  facts  for  emphasis.  The 
strongest  fact  first,  and  so  on.  After  which  we  choose  type 
faces  which  conform  most  appropriately  to  the  expression  of 
the  voice  and  the  argument,  constantly  bearing  in  mind  that 
looks  count  heavily  for  or  against  us.  Here  is  where  individual 
good  taste,  knowledge  and  expertness  enter. 

But  above  all, — the  layout  man — be  he  printer  or  not — must 
have  a  clear  insight  to  the  real  purpose  of  the  copy — what  it 
is  expected  to  accomplish.  Copy  costs  good  money  and  a  lot  of 
hard  work  in  the  compilation — space  costs  money — printing 
costs  money — so  does  mailing;  and  your  Uncle  Sammy  col- 
lects the  no  small  item  of  postage. 

A  consistent  amount  of  merchandise  must  be  sold,  or  its 
equivalent  in  good  will  must  be  created,  before  these  expendi- 
tures develop  into  profitable  investments.  With  these  two  big 
facts  as  thoroughly  understood  keynotes,  the  layout  man  is 
more  apt  to  keep  his  head  and  hands  where  they  belong — to 

[9] 


the  best  interests  of  the  man  or  firm  spending  the  money.  He 
must  understand  and  sympathize  with  the  spirit  of  his  text. 

Types  in  themselves  are  too  extensive  a  study  for  me  to  try 
to  go  into  thoroughly  at  this  time.  I  can  only  just  scratch  the 
surface — the  big  points — and  permit  your  own  good  judgment 
to  grasp  all  that  I  am  forced  to  leave  untouched. 

Now  that  we  have  our  copy  analyzed,  our  types  selected,  and 
our  blank  space  before  us, — let  us  use  a  pencil  and  ruler  and 
make  a  layout  to  find  out  how  the  copy  will  look  in  print.  Pic- 
ture in  your  mind  exactly  how  long  you  wish  the  reader's 
glance  to  rest  on  each  word  or  group  of  words, — remember- 
ing that  the  length  of  time  it  takes  for  the  eye  to  pass  on  is  the 
length  of  time  the  mind  is  absorbing  the  meaning  of  the  word 
or  group  of  words. 

When  you  have  this  time-distance  approximated,  pencil-in 
the  lettering.  Then,  if  there  is  a  pause  in  thought  or  a  break  in 
idea,  run  the  ruler  down  until  you  feel  that  you  have  allowed 
enough  space  to  represent  the  pause  in  speech.  Then  proceed 
with  the  next  idea. 

It  most  often  happens  that  in  a  group  of  words  in  major  dis- 
play it  is  necessary  to  emphasize  almost  every  word.  In  such 
cases  italics  or  caps  of  the  same  face  can  be  used,  or  an  under- 
score. Here,  too,  does  individual  taste  determine  what  is  best 

[10] 


At  times  each  word  on  a  separate  line  gives  emphasis  to  each 
word,  or  some  one  or  two  words  can  be  brought  up  stronger 
and  give  even  greater  emphasis. 

The  breaking  up  of  sentences  into  lines  is  where  care  must 
be  used.  The  wrong  arrangement  may  give  a  wrong  impres- 
sion of  the  idea  in  mind.  Always  try  and  have  a  complete 
thought  or  idea  expressed  on  a  line. 

This  idea  or  fact  may  consist  of  one  or  many  words.  Some- 
times greater  effect  in  emphasis  can  be  obtained  by  subordinat- 
ing either  the  first  few  words,  or  the  last  few  words,  or  the 
middle  of  a  sentence — the  different  sizes  of  types  used  in  the 
sentence  to  occupy  different  lines.  On  the  other  hand,  at  other 
times  such  a  procedure  might  make  a  jumble  because  of  too 
much  emphasis.  This  is  where  a  layout  is  invaluable. 

A  first  rough  draft  should  show  these  defects  in  balance. 
After  criticism  of  your  own  labor,  make  a  second  draft, — and 
if  need  be  a  third, — until  you  have  a  layout  which  looks  attract- 
ive, effective,  and  as  though  spoken  with  enthusiasm.  By 
all  means  construct  your  layout  upon  geometric  lines,  for  if 
you  think  you  can  get  an  attractive  result  without  it  you  are 
badly  mistaken.  The  eye  is  hurt  by  confusion — balks — and 
passes  on.  Geometric  arrangements  please  and  hold  the  eye, — 
while  the  numerous  possible  combinations  of  geometric  figures 

[11] 


PRINTING   BRINGS   RESULTS 
A  Stepping-stone  to  Bigger  Sales 

1.  — 18  pt.  Old  Style  Antique.  Cap.  alphabet  360  pts.  Lower  case  alphabet  244  pts. 

(Eualttp  printing  for  (Ettalttp  effect 

2.-24  pt.  Priory  Text.  Cap.  alphabet  465  pts.  Lower  case  alphabet  240  pts. 

SALESMANSHIP  OJV  PAPER 

Fresh  View-points,  Imagination,  Appeal 

3.-22  pt.  Original  Old  Style  Italic.  Cap.  alphabet  370  pts.  Lower  case  alphabet  216  pts. 

RESULTS  DECIDE  VALUE 

Why  Direct  Advertising  Pays  Us 

4.  — 24  pt.  Caslon  Old  Style.  Cap.  alphabet  440  pts.  Lower  case  alphabet  260  pts. 

TffE  BEST  COPY  CAN  BE  RUINED 
And  Made  Use/ess  by  Unsympathetic  Typography 

5.  — 18  pt.  Original  Old  Style  Italic.  Cap.  alphabet  312  pts.  Lower  case  alphabet  168  pts. 

All  type  styles  shown  above  go  very  well  together.  Any  two  or  three  and  even  all  five  at  times 
may  be  used  effectively  in  one  composition.  The  range  of  possibilities  is  so  great  with  this  com- 
bination (plus  Caslon  italic,  not  shown  here)  that  were  all  other  types  eliminated  while  these  re- 
mained, the  cause  of  good  printing  would  suffer  only  slightly. 

1.  A  fairly  heavy  type.  Round.  Spool-shape  serifs. 

2.  Decorative.  Churchy,heavy.Caps,round;  lower  case, condensed.  Diamond-shape  serifs.  Sharp 
points  and  angles  with  graceful  curves. 

3.  Graceful.  Long  descenders.  Round  curves.  Swash  serifs  hold  eye  very  long.  Note  old-fashioned 
lower  case  p.  Only  size  in  existence. 

4.  The  most  versatile  type  in  existence.  Round.  Fine  proportions.  Long  descenders.  Note  upper 
serifs  on  caps  T  and  A  and  compare  with  other  types.  Round  serifs. 

5.  Crude  but  effective.  Round.  Looks  like  hand  lettering.  Long  descenders.  Erratic  serifs.  Very 
interesting.  Holds  eye  a  long  time.  Only  size  in  existence. 

[12] 


APPEAL  IN  TYPE  IS  THE 

Understanding  shown  behind  it 

6.-22  pt.  Poster  Roman.  Cap.  alphabet  414  pts.  Lowercase  alphabet  282  pts. 


HUMANIZING  TYPE  AND  PRINTING  IS 
The  Power  To  Express  Thoughts  in  Type 

7. — 12  pt.  Boldface.  Cap.  alphabet  288  pts.  Lower  case  alphabet  216  pts. 


QUAMTY  PRINTING  MAKE  S  IT  RESUL,TFUIi 

This  is  the  Art  of  the  A  hie  Typographic  Designer 

8.  — 10  pt.  Fatface.  Cap.  alphabet  247  pts.  Lower  case  alphabet  180  pts. 


THE  SPARK  OF   HUMAN-INTEREST 
comes  from  the  use  of  eloquent  Typography 

9.  — 18  pt.  Bodoni.  Cap.  alphabet  294  pts.  Lower  case  alphabet  204  pts. 

COMPREHENSIVE  PRINTING  SERVICE 

Organized  to  bring  Buyer  and  Seller  Together 

10. — 14  pt.  Scotch  Roman.  Cap.  alphabet  289  pts.  Lower  case  alphabet  182  pts. 

Types  shown  on  this  page  differ  in  focus  and  yet  have  considerable  in  common.  While  body 
strokes  vary,  the  serifs  and  many  of  the  faces  bear  a  close  family  resemblance.  The  heavy  lines 
are  hef  cy  in  various  degree,  while  the  hair  lines  are  all  equally  fine.  Compare  the  wings  of  the 
cap  T  and  the  swash  stroke  of  the  cap  R. 

The  differences  in  color  values  permit  a  wide  range  of  modulation,  but  care  must  be  taken  when 
several  of  these  types  are  used  together  to  avoid  conglomeration. 

Notice  the  strength  of  Fatface  as  compared  to  Poster  Roman ;  that  the  eye  rests  longer  on  the 
Poster  face  due  to  larger  size ;  and  that  Fatface  talks  in  strong  compressed  tones  due  to  heft 
with  smaller  size;  permitting  more  words  in  a  given  space. 

6.  Moderate  heft.  Round,  with  square  set  effect.  Serifs  based  on  square  and  ellipse. 

7.  Heavy.  Round.  Elliptical  serifs. 

8.  Very  heavy.  Round,  with  square  set  effect.  Square  serifs. 

9.  Sharp  condensed  face.  Long  descenders.  Serifs  sharply  square. 

10.  Very  versatile  type.  Round.  Full,  round  serifs. 

[13] 


PRINTING  CREATED  ON  PURELY 
a  Mechanical  Basis  Lacks  Sympathy 

11.— 18  pt.  Century  Old  Style.  Cap.  alphabet  324  pts.  Lower  case  alphabet  230  pts. 

AN  INVITATION  TO  READ  IS  SELDOM  PASSED 
By  When  Illustrations  and  Typography  are  Attractive 

12.— 12  pt.  Cushing  Old  Style.  Cap.  alphabet  222  pts.  Lower  case  alphabet  158  pts. 

A  PRINTING  ORGANIZATION  OF 

and  for  Advertising  Men  must  bring  Results 

13.  — 18  pt.  MacFarland.  Cap.  alphabet  318  pts.  Lower  case  alphabet  195  pts. 

WHILE  TRIFLES  MAKE  PERFECTION 

Perfection  is  Far  from  Being  a  Trifle.  MmorougK 

14.— 18  pt.  Packard.  Cap  alphabet  312  pts.  Lower  case  alphabet  180  pts. 

FEELING— TASTE— SYMPATHY 
Are  Responsible  for  Strongest  Effects 

15.  —20 pt.  Cadmus  Old  Style.  Cap.  alphabet  352  pts.  Lowercase  alphabet  234  pts. 

There  is  no  family  resemblance  between  the  types  shown  on  this  page.  But  because  of  similar 
focus  the  first  two  can  be  combined  effectively.  The  last  three  are  decidedly  individualistic  faces 
and  it  is  inadvisable  under  ordinary  conditions  to  combine  them  with  other  types.  All  types  with 
the  same  focus  and  serifs  somewhat  alike,  but  with  varying  heft,  combine  effectively  (either  har- 
mony or  harmonious  contrast).  By  respecting  this  principle  harmony  is  created,  where  ignorance 
develops  an  abortive  snarl. 

11.  Large,  close-set  face  with  attractive  even  line  (may  be  likened  to  the  sheen  of  silver).  Con- 
densed. Slightly  elliptical  serifs. 

12.  Somewhat  heavy.  Condensed.  Slightly  spool  shaped  and  elliptical  serifs. 

13.  Moderate  heft.  Caps  are  round,  while  lower  case  is  condensed.  Angular  serifs.  A  type  with 
a  peculiar  look  because  of  serifs  and  different  focus  of  caps  and  lower  case. 

14.  Moderate  heft.  Hand-lettered  effect.  Round ;  somewhat  condensed  on  some  letters.  Long 
descenders.  Serifs  are  unusual  and  hold  eye  a  long  time.  Note  two  kinds  of  cap  T. 

15.  Large,  somewhat  condensed  face.  Sharp  triangular  serifs.  Compare  with  other  types  for 
differences. 

[14] 


TONS  OF  PRINTING  WASTED 
Poor  Typography  is  The  Reason 

16. — 18  pt.  Franklin  Gothic.  Cap.  alphabet  352  pts.  Lower  case  alphabet  270  pts. 

NEVER  MISTAKE  A  LOW  PRICE 

For  True  Economy.  The  Stetson  Press 

17. — 14  pt.  Bold  Antique.  Cap.  alphabet  330  pts.  Lower  case  alphabet  240  pts. 

FREAKISHNESS  NEVER  SHOULD 
Be  Confused  With  True  Style  or  Art 

18.—  18  pt.  Cheltenham  Bold.  Cap.  alphabet  336  pts.  Lower  case  alphabet  232  pts. 

CREATIVE  PRINTING  IS  THE  KIND  THAT 
Generates  the  Pulling  Power  in  Advertising 

19.— 18  pt.  Cheltenham  Bold  Extra  Condensed.  Cap.  alphabet  252  pts.  Lower  case  alphabet  187  pts. 

DIRECT  ADVERTISING  IS  FAST  BECOMING  ONE 
of  the  Greatest  Selling  Forces  in  This  Country 

20.— 18  pt.  Franklin  Gothic  Extra  Condensed.  Cap.  alphabet214  pts.  Lower  case  alphabet  178  pts. 

Types  shown  on  this  page  play  an  important  part  in  ad  composition,  newspaper  headings,  mani- 
fold work,  miscellaneous  circular  and  job  work,  and  wherever  estheticism  must  be  subordinated 
to  utility.  Because  of  their  blackness  they  should  be  used  sparingly  in  any  onecomposition(mostly 
for  major  display).  They  are,  however,  legible  as  straight  reading  matter  set  widely  leaded,  with 
liberal  margins,  or  when  printed  with  colored  ink  or  on  colored  stock.  Vigorous  effects  can  thus 
be  obtained. 

All  of  these  faces  when  used  to  contrast  lighter  types  come  naturally  into  the  foreground. 

16.  Strong  round  face,  square  set.  Good  proportions.  Practically  no  serifs. 

17.  Very  strong  and  somewhat  sharp.  Round,  with  square  set  effect.  Square  and  circular  serifs. 

18.  A  favorite  display  type.  Round  (some  of  the  caps  have  a  slightly  condensed  tendency).  Long 
ascenders.  Spool-shape  serifs.  Note  two  kinds  of  lower  case  r. 

19.  Condensed.  Long  ascenders.  Spool-shape  serifs.  Note  two  kinds  of  lower  case  r. 

20.  Condensed.  Oblong  set  effect.  Practically  no  serifs. 

[15] 


offer  unlimited  opportunity  for  the  widest  variety  of  display. 

Study  the  patterns  in  linoleums.  Notice  how  a  square  surface 
is  broken  up  into  circles,  squares,  diamonds,  triangles,  oblongs, 
— and  remember  that  the  blank  sheet  of  paper  can  be  sub- 
divided into  various  shapes,  and  type  be  made  to  correspond 
— each  shape  carrying  an  idea. 

Give  shape  to  your  display.  Shape  is  the  skeleton — the 
framework — of  the  finished  result,  and  unless  the  frame  is 
well-proportioned  the  body  cannot  be  otherwise  than  ugly  or 
indifferent.  Then,  assuming  that  we  base  our  type  arrangement 
on  the  correct  frame,  we  have  yet  another  obstacle  to  over- 
come— the  selection  of  the  right  type  faces  and  type  sizes  to  fit 
the  frame. 

We  have  agreed  that  the  larger  the  type  face — up  and  down 
and  left  to  right — the  longer  the  eye  rests  on  it.  The  degree  of 
heft  or  blackness  of  the  type  face  has  positively  nothing  to  do 
with  the  length  of  time  the  eye  rests  on  it.  This  is  a  point  I  wish 
to  call  to  your  particular  attention.  It  is  on  this  error  more  than 
any  two  others  put  together  that  abortions  in  type  speech  are 
created.  In  fact — the  large,  heavy  type  faces  do  not  hold  the 
eye  attention  anywhere  near  as  well  as  do  the  large,  lighter 
type  faces. 

Over-strong  black  types  talk  coarsely — they  clamor  for 

[16] 


attention.  You  know  it  and  instinctively  feel  suspicious  at 
such  an  aggressive  attack  on  your  attention. 

Large,  light  types  talk  easily  and  have  a  more  attractive  look 
— more  inviting  and  refined.  But  too  much  large  type  is  bad 
because  it  talks  too  slowly, — the  eye  rests  longer  on  each  word 
than  is  consistent  with  voice  delivery. 

Smaller  black  types  in  contrast  with  larger  light  types  give 
emphasis.  They  talk  in  compressed  but  strong  tones.  Because 
of  their  smaller  size  the  eye  travels  over  them  quickly  and  their 
appearance  is  more  consistent  with  voice  delivery. 

You  can  readily  understand  by  these  comparisons  that  the 
length  of  time  types  talk  is  determined  by  size, — that  the  heavy 
voice  tones  are  determined  by  heft, — and  that  size  and  heft 
can  be  combined  in  one  face.  While  the  blackness  of  type 
has  nothing  to  do  with  the  length  of  time  it  talks,  black 
types,  for  reasons  of  their  stronger  voice  and  contrasting 
ability  in  connection  with  light  types,  do  serve  a  purpose. 
Used  in  their  correct  sizes  in  major  display,  they  are  at 
a  nearer  reading  distance  to  the  eye, — therefore  they  are 
aggressive  and  talk  with  a  punch  without  being  coarse.  Used 
in  minor  display  they  supply  the  strong,  compressed  tones 
of  emphasis,  and,  due  to  their  smaller  size,  talk  no  longer 
than  is  necessary  to  convey  secondary  ideas. 

[17] 


Typographic 
Models 


Reproductions 

of. 

Typographic  Designs 

'by 
Barnard  J.  Lewis 

The  Stetson  Press 

195  Fort  Hill  Square 

Boston 


Cambridge,  Mass. 

The  Printing  Art 

mcmxii 


All  reproductions  are  exactly  one-half  original  size 

21.  Title  page  set  in  Caslon  upper  and  lower  case  throughout.  Dignified,  yet  informal.  Short 
dashes  prevent  eye  from  travelling  down  page  too  fast ;  are  decorative  and  complete  geometric 
formation.  Note  modulation  of  emphasis  caused  by  type  size  changes  and  break-up  of  lines. 

22.  Cover  page  in  Colonial  style.  Note  arrangement  of  place  and  date  with  cut-off  rules ;  typical 
of  the  period.  Event  is  placed  at  golden  center.  Name  of  club  forms  a  diamond  resting  on  a  rec- 
tangular base.  Note  length  of  time  eye  rests  on  name  because  of  this  break-up. 

23.  Folder  for  small  envelope.  Note  strong  emphasis  caused  by  combination  of  odd  white  spaces, 
color,  underscore,  and  panel. 

24.  Announcement  page.  Talks  with  great  emphasis,  due  to  use  of  white  space  and  light  types 
stronglycontrasted.Note  that  cut-off  rulescreatea  long  pause  and  maintain  square  form  of  page. 

25.  Announcement  page.  Capitals  are  dignified  ;  italics,  graceful ;  white  space,  airy.  Note  geo- 
metric arrangements  and  that  chief  display  is  at  golden  center. 

[18] 


li 


Boston 
Massachusetts 


SEVENTH  ANNUAL 

CONVENTION 

THE 

ASSOCIATED 

ADVERTISING 

CLUBS 

OF 

AMERICA 

August  i,  2,  3,4 
191 1 


22 


The 

Victor  Company 

Defeated 

LOSES  its 
Most   Important  Suit 

A  DECISION  'ffir-rcacninfim. 
J-\   parlance  it  Tut  Talking 
■*■    -^  Machine  Trade  was  handed 
down  by  Judce  Houch,  of  the  United 
Slates  Circuit  Court,  in  New  Tort,  on 
Saturday,  Feiruarj  25, 1911. 

1  AST  December  the  Victor  Co. 

'  *■  obtained  an  injunction  from  this 

same  court  restraining  the  Sonora  Co. 

|  from  using  the  automatic  feed,  and 

!  the  Victor  Co.  bid  fair  to  perpetu- 

i  ate  its  monopoly  in  this  important 

24 


When  your  competitor  get»  out 

"some" 

catalog- 
Go  him  one  better 

See  Henry  Davis  1 

The  StetsonPress,  Inc. 

23 


•c=3.0=.a*^.e^.»».«e.i».«nl. 8^. csS.»». €**•■*♦  «E?.S5»g 

Tou  art  Cordially  Invited  to  Visit  and  Inspect      . 
our  new,  extensive,  and  perfectly  appointed 

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AND 

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for  the  demonstration  of  household 
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WQ  **l*frf  nttgtititm,  fir  tht  nmptru  titttrumt 
i,  mVutpmkUt  twlttmfi 


+4  KtJhU  tftrng  » 


PETTINGELL-ANDREWS  COMPANY 

Ltgkami  Ftxtmru .  ittdritmt  Affkattn 


BOSTON 


[19] 


25 


INDIA   TINT 

Dunkirk  Text 


Dunkirk  Text  contains  a  large  percentage 

ofragy  bulks  thick  Jbr  weight— 

has  a  sofl  pliable Jnish 

& 
is  a  desirable  stock  Jbr  every  purpose 

Jbr  which  a  book  paper  is  used 

Stone  &  Andrew 

lncorponbd 

Manufacturers  and  Distributors 

GneUe  irtt  BWj.         Uitopolltu  U»  BU>. 


26 


All  reproductions  are  exactly  one-half  original  size 

26.  Folder  set  in  Scotch  and  Original  Old  Style  italic.  Note  letter  spacing  of  three  Scotch  lines 
to  achieve  proportions,  left  to  right.  Note  italic  &*  which  completes  inverted  pyramid  and  at  the 
same  time  helps  to  bring  out  next  two  lines. 

27.  Double-page  spread  of  folder  set  in  Cheltenham  Bold.  Ordinarily  the  use  of  so  much  black 
type  is  dangerous  to  legibility.  White  space,  grouping,  and  color  break-up  make  it  legible,  and 
the  types  talk  every  bit  as  strong  as  the  occasion  calls  for.  Note  difference  in  spaces  between 
paragraphs  and  absence  of  stiffness. 

28.  Back-cover  page  set  in  Century  Old  Style.  Important  talk  presented  without  bluster  of  heavy 
type.  Square  set  pages,  with  border,  usually  have  a  set  effect.  This  page  is  relieved  through  the 
irregularity  of  the  center,  white  space,  and  the  use  of  caps  and  small  caps. 

29.  Folder  set  in  Cheltenham  Bold  Condensed,  Century  Old  Style,  and  Cheltenham  Bold.  Small 
sizes  of  Cheltenham  Bold  are  used  ( in  places )  and  therefore  do  not  pull  the  eye  out  of  focus. 
Note  the  way  page  is  broken  up  into  various  geometric  figures  —  each  figure  carrying  one  or  more 
ideas. 


[20] 


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27 


The  Initial 

is  published  from  time  to  time 
in  the  interests  of  more  effective 

Advertising  Typography 

Each  Issue  Presents 

a  different  and  distinctive  style 

in  Copy— Color— Set-Up 


It  will  pay  you  to  study  well 
each  number— and  to  keep 
the  issues  for  future  reference 


28 


Used  (or  making  High-Grade 
blank  books  (or  permanent  records 


Uvriflnayyontouxt 

VALLEY  PAPER  CO.'S 


EN  U 


1  It  has  great  strength  and 
unexcelled  erasing  quali- 
ties. 

It  b  pare  In  color— of  uni- 
form texture — and  has  a 
beautiful  finish. 

i  It  takes  writing,  ruling  snd 
printing  to  suit  the  moat 
exacting  requirements. 
It  is  an  Ideal  paper  for 
loose-leaf  system*. 


INSIST  Off  CETTWG 

VALLEY  PAPER  CO.'S  LINEN  LEDGER 
29 


[21] 


White  space  supplies  the  major  pauses  in  type  speech,  while 
a  change  in  size  of  type,  or  the  correct  break  up  into  lines  of 
sentences  or  words  or  groups  of  words,  supplies  the  minor 
pauses. 

Right  here  is  where  a  few  remarks  about  serifs  should  enter. 
The  serifs  are  the  extra  strokes  given  to  the  perfectly  plain 
lines  of  the  letters;  for  instance,  the  fine  lines,  especially  the 
cross  strokes — the  various  freak  strokes  across  the  face — 
and  various  extra  length  strokes.  Serifs  give  the  character  to 
type  which  creates  expression,  and  have  a  wonderful  influ- 
ence on  the  eye.  They  are  interesting,  attractive,  and  hold  the 
eye  for  an  unusually  long  time. 

Two  type  faces  with  exactly  the  same  proportions  but  with 
differently  constructed  serifs  may  resemble  each  other  just 
about  as  closely  as  a  circle  does  a  square.  There  are  square 
serifs,  round  serifs,  triangular  serifs,  wavy  serifs,  and  other 
kinds, — and  every  different  kind  of  serif  has  its  variations. 
The  beauty  and  distinction  of  good  hand-lettering  comes  in 
its  serifs,  flexibility  and  compactness.  The  serif  is  what  makes 
original  Caslon  and  Bodoni  types  so  much  superior  to  lining 
Caslon  and  modern  Bodoni.  The  serif  in  type  is  first  lieutenant 
to  size  of  type  in  holding  the  eye  attention. 

Eye  focus  is  yet  another  element  we  must  consider.  You 

[22] 


may  construct  your  frame  perfectly — select  type  sizes  of  the 
right  sort — with  good  serifs, — and  then  spoil  it  all  by  using 
types  of  too  many  different  proportions  in  one  composition. 

There  are  three  broad  classes  of  proportion  in  types.  These 
are  based  on  three  geometrical  figures — the  circle,  the  hori- 
zontal oblong  and  the  vertical  oblong.  These  proportions  in 
printers'  parlance  are  called  normal,  extended  and  condensed. 

All  these  proportions  are  good  for  certain  uses.  Often  two 
of  these  three  can  be  used  together  to  great  advantage — but 
all  three  should  never  be  used  together. 

The  round  proportion  in  a  type  face  is  the  most  natural  one. 
The  eye  rests  fully  on  it,  the  focus  being  equally  the  same  to  all 
points.  On  the  extended  type  the  eye  focus  is  from  left  to  right, 
while  on  condensed  type  it  is  up  and  down. 

Not  only  is  it  a  positive  fact,  but  it  stands  to  reason  that  the 
round  types — because  of  the  natural  focus — are  the  most 
legible  and  the  best  to  use  in  most  places. 

There  are  many  condensed  types  used  for  text  which  have 
great  legibility,  but  care  should  be  taken  to  use  condensed  dis- 
play type  with  the  body  type,  so  that  the  eye  focuses  only  one 
way — up  and  down. 

The  extended  types  are  rarely  legible  enough  to  use  for 
text, — being  used  mostly  for  display  headings  where  depth  of 

[23] 


space  is  limited  and  width  of  space  too  great  for  a  compara- 
tively small  face.  The  extended  types  are  the  least  useful  of 
the  three. 

While  it  is  best  to  keep  to  only  one  focus  throughout,  present- 
day  necessity  often  compels  us  to  use  different  proportions  in 
display  type.  Bear  in  mind,  when  such  a  contingency  occurs, 
that  you  should  never  use  more  than  two  of  these  proportions 
together,  and  that  when  two  are  used,  one  must  be  round.  In 
other  words,  round  and  condensed,  or  round  and  extended, 
but  never  condensed  and  extended.  Every  one  of  these  types 
have  their  own  peculiar  focus,  and  when  two  of  them  are  used 
together  it  makes  a  double  focus  and  more  work  for  the  eye. 

When  all  three  are  used  together — or  when  the  condensed 
and  extended  are  used  together — the  focuses  are  such  wide 
contrasts  that  a  jumble  is  created  which  talks  in  a  terrible  snarl. 

Another  cardinal  principle  generally  very  little  understood 
is  what  I  call  a  level — an  eye  level,  or  the  level  the  eye  rests 
upon — the  distance  of  eye  to  blank  space  or  white  space — the 
distance  of  eye  to  type  in  the  background — and  the  distance 
of  the  heavier  types  in  the  foreground. 

For  clarity  I  will  say  that  there  are  two  levels  or  distances 
and  one  foreground.  The  major  level — or  the  one  that  is  fur- 
thest from  the  eye — is  the  white  space.  The  minor  level  is  the 

[24] 


even  type  tone  which  is  naturally  nearer  the  eye.  The  fore- 
ground is  made  up  of  every  type  nearer  the  eye  than  the  two 
levels. 

Study  every  piece  of  typography  that  appeals  to  you  and  I 
will  wager  that  you  will  find  that  there  are  either  the  two  levels 
only,  or  the  two  levels  and  one  foreground.  If  there  are  more 
than  two  levels,  the  composition  is  bad  and  talks  in  confusion. 
And  the  same  thing  is  true  if  there  is  more  than  one  fore- 
ground. You  will  find  that  by  strictly  adhering  to  the  two  levels 
and  one  foreground — together  with  the  other  principles  pointed 
out — that  type  talks  intelligently,  attractively,  and  duplicates 
nearly  every  voice  inflection. 

Levels  and  foreground  handled  correctly  enhance  the  effect- 
iveness of  illustrations.  Illustrations  and  type  then  talk  to- 
gether, each  adding  strength  to  the  other,  because  correct 
handling  of  all  three  levels  have  removed  non-essential  eye 
attracters  and  confusers. 

Here  then  are  the  elements  which  make  type  talk :  the  frame 
— type  size — type  heft — serifs — focus — levels — and  white 
space. 

These  elements  are  at  everybody's  command.  Individual 
application  and  good  taste  determine  the  amount  and  quality 
of  talk  types  can  be  made  to  create.  The  underlying  principles 

[25] 


IFTY  YEARS 

of  a  delightful  business — 
bringing  from  far  countries 
the  finest  of  tea  and  coffee. 

Fifty  Busy  Years — in  which  have 

grown  up  entirely  new  ideas  in  hand- 
ling, packing  and  safeguarding. 
Fifty  Prosperous  Years — in  which 
the  number  of  our  customers  has  grown 
until  to-day  there  is  no  part  of  the 
United  States  or  Canada  where  our 
goods  are  not  sold. 

CHASE  fiC  SANBORN 

fmpoTtm  oPlea  ami G>$z 


All  reproductions  are  exactly  one-half  original  size 

30.  Newspaper  ad  set  in  Bodoni.with  hand  lettering  and  decorations.  Dignity  without  stiffness. 
Note  extra  long  swash  strokes  on  hand  lettering  which  hold  the  eye,  thereby  emphasizing  that 
particular  line  or  word.  An  eye  attracter.  Esthetic  and  practical. 

31.  Ad  with  a  mixture  of  types  and  hand  lettering.  Shows  up  strong  in  newspapers.  Nicely  illus- 
trates contrast  and  talk  values  as  explained  in  text 

32.  Ad  set  in  Old  Style  Antique.  Note  two  start-off  lines  set  up  large  to  make  heading.  Note  levels. 
Shows  up  strong  in  newspapers. 

33.  Hand-lettered  newspaper  ad.  Strong  attraction  values.  Note  long  ascenders  and  descenders. 
Note  square-up  on  left  and  right,  with  uneven  white  spaces  in  center.  Note  length  of  time  eacn 
line  holds  eye  and  modulation  created  thereby. 

[26] 


With  Ice 

sugar  and  lemon 

Delicious! 

Chase  flr  Sanborn's 

Seal  Brand 
TEA 

In  pound,  half-pound  and  quarter- pound, 
sealed  air-light  canister. 


31 


For  the  little  mis- 
haps of  summer — 

mosquito  bites,  bee  stings,  bruises,  lame 
feet, — there's  nothing  to  equal  a  few 
drops  of  Sulpho-Napthol  in  a  little  water. 

It  takes  out  the  smart,  prevents  in- 
fection, helps  the  hurt  to  heal  quickly. 

Take  a  bottle  on  your  vacation.  Keep 
it  handy  all  summer. 

CABOT'S  ^    | 


Druggist!  and  Grocers,  tec,  15c,  50c,  75c.  fi  00 
New  England  Sales  Agent,  Ceo.  Wm.  Beatlej  Co.,  Bootee) 


32 


gits  you  will  like  togive 
Choose  early 

MAYNAR.D 

JEWELERS  K  SILVERSMITHS 
<ji6  Boylston  Street 


[27] 


X 


COVER  &  TEXT 


•FAIRBANKS    HOUJt  .|fc3fa 


T1LESTON 


HOIimGSWORIH  GOo 

JMfier  Jiakera  for  over  One  "Jfoundred  yean 


34 


All  reproductions  are  exactly  one-half  original  size 

34.  Hand-lettered  cover  page.  Very  airy.  Eye  follows  every  variation  of  the  lettering— circles, 
shading,  serifs  — and  is  thereby  kept  interested  for  an  unusually  long  time.  Note  that  dashes  and 
illustration  match  lettering.  Lettering  talks  strongly  in  spite  of  airiness. 

35.  Book  circular  page  set  in  Scotch  and  Poster  Roman.  Considerable  display  at  top  which  would 
ordinarily  go  on  a  page  by  itself.  Cartouche  holds  display  together,  is  decorative,  and  preserves 
the  booky  atmosphere.  Note  grouping  of  caps  and  lower  case  and  wide  leading  of  straight  matter, 
with  booky  margins. 

36.  Folder  page  set  in  Caslon  and  Old  Style  Antique.  Note  grouping,  and  compressed  tones  cre- 
ated where  Antique  is  used.  Border  has  a  "money  "  look,  typical  of  stock  certificates,  etc. 

37.  Folder  page  set  in  Caslon  and  Old  Style  Antique.  First  two  lines  talk  slowly  with  "  some- 
thing" emphasized.  Second  type  group  talks  quickly  in  well-modulated  though  compressed  tones. 
Note  underscore,  grouping,  pauses,  and  balance. 

38.  Announcement  page  set  in  Caslon  and  Priory  Text.  Note  unusual  break-up  of  display  at  top 
of  page.  Note  modulation  and  levels.  Note  white  space  around  centertype  panel.  Decorative  and 
yet  clear. 

[28] 


The  Great 
French  Encyclopedic  Dictionary 

THE  NEW  ILLUSTRATED 

LAKOUSSE 

PUBLISHED  IS  FRENCH  UNDER  THB 
DIRECTION  OP  CLAUDE  AUGE 
to  f  volumes  and  •  tupplemoat.  *t.o.   In  all  8  toIbi 
Bound  Id  cloth  with  leather  b 

$70.00  NET 


THE  MOST  EECXNT,  THE  MOST  COMPLETE,  THE  MOST    MAONTTICKNTLT 
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in  color,  89  colored  plates 

THIS  MAGNIFICENT  WORE  is  not  only  the  most  com- 
plete and  the  most  comprehensive  of  all  encyclopedic  dic- 
tionaries, it  is  also  the  most  modern,  and  the  only  one  absolutely 
up  to  date.  Admirably  annotated,  marvelously  illustrated, 
convenient  and  agreeable  to  consult,  it  is  an  incomparable  book 
of  reference  to-  which  one  will  never  have  recourse  in  vain, 
whether  it  be  ft  question  of  practical  matters  or  of  intellectual 
curiosity. 

Edited  by  more  than  400  distinguished  collaborators,  the 
New  Illustrated  Lahoitsse  embraces  all  human  knowledge  — 
general  knowledge:  the  French  language  (vocabulary,  grammar, 
etymology,  etc.),  history,  geography,  biography,  mythology, 
literature  and  the  fine  arts  (an  analysis  of  all  noteworthy  works) 
poetry,  romance,  the  theatre,  painting,  sculpture,  architecture, 


I 


f  your  printed  matter 
lacks  that  "something— 


To  give  it 

maximum  efficiency 

Call  Henry  Davis 

of  The  Stetson  Press,  Bostoo 
Qnw,tntmtj 


BANKER! 
LINEN   BOND 


STOCKCERTIFICATES,  DEEDS, 
INSURANCE  POLICIES 


ALL  DOCUMENTS  OF  VALUE 


No  mistake  can  be  made 

to  Um  Mtactka  of  Buk«n  Um  Boo*  <w 
mq  purpo**  for  <*rbtca»b«a4p«fwtf  ratyalf*4. 

Perhaps  you  think  we  may  be  over- 
enthusiastic  about  our  product.  But — 
if  you  will  study  the  fact* — compare 
it  on  points  of  strength,  color,  finish, 
wearing  and  printing  qualities — 
You  will  find  our  enthusiasm  rests  on 
a  very  solid  base,. 


36 


3^ 


©ulktrr  larger       »  Jlncrcastb 

nbeloptsi     rofttsi     alea 

Employee  Employer 


QFhe  American  printer 

IS  the  representative  magazine 
for  printers  in  all  parts  of  the 
world.  It  is  read  by  men  of  in- 
fluence in  the  printing  field — 
employing  printers,  managers, 
foremen.andambitiousand  ener- 
getic compositors  and  pressmen. 
The  American  Printer  was 
first  in  the  educational  field;  its 
School  of  Typography,  begun  in 
1 903,  was  original  in  its  concep- 
tion and  is  of  immense  value  to 
the  student  typographer.  The 
amount  invested  in  a  year's 
subscription  to  The  American 
Printer  will  return  to  the  in- 
vestor multiplied  many  fold. 


Otitoato  publishing  c  ompanp 

a  5  City  Hall  Place,  New  York 


i^- 


33 


[29] 


which  I  have  explained  are  worth  going  to  some  little  time  and 
trouble  to  understand.  These  principles  at  your  finger  tips  will 
make  your  mind  work  largely  in  an  automatic  fashion.  Lay- 
outs which  at  present  are  hard  work  will  become  easy  riddles 
to  solve.  The  types  will  talk  in  a  human  fashion — in  any  mood 
you  desire. 

The  printer  or  lay-out  man  to  get  type  to  talk  in  the  exact 
mood  of  the  subject  or  nature  of  the  merchandise  described 
must  be  a  student  and  have  a  conscientious  appreciation  of  the 
message  to  be  delivered. 

The  day  of  the  compositor  is  the  day  of  long  ago.  The  com- 
positor's all-absorbing  idea  is  to  make  every  job  look  different, 
and  gingerbready — regardless  of  cost  or  purpose  to  be  accom- 
plished by  the  man  who  is  spending  the  money. 

The  day  of  typographical  designers — who  at  the  same  time 
have  keen  merchandising  instincts — is  rapidly  approaching, 
and  in  some  cases  has  arrived. 

Remember,  however,  that  the  purpose  of  making  type  talk 
is  to  call  favorable  attention  to  the  goods.  Anything  which 
detracts  from  the  main  purpose  is  undesirable,  so  be  careful 
that  you  do  not  make  a  mistake  as  to  what  does  constitute 
really  good  printing.  Four  colors,  gold  and  embossing  do  not 
necessarily  make  good  printing. 

[30] 


Good  printing  is  the  kind  which  delivers  the  message.  Which 
may  be  printed  simply  and  inexpensively.  Which  may  not  an- 
nounce the  hard  work  put  into  it, — but  does  tell  of  the  brains 
that  go  into  it,  by  getting  across  to  the  advertiser's  profit. 

It  pays  to  make  type  talk! 


[31] 


The  Personal  Services  of 
Barnard  J.  Lewis 

are  offered  for  the  planning  and  creation 
of  your  Printed  Material 


M, 


r.  Lewis  has  made  himself  master  not  only 
tf/'artistic  effect  in  Typographic  Designing, 
but  his  broad  study  and  experience  in  the  practical 
art  of  making  Type  a  more  vital  factor  in  success- 
ful Selling  assure  a  much-desired,  original  quality 
o/'persuasion  in  any  work  he  undertakes. 
His  vigorous  ideas  and  enthusiastically  applied 
skill  enter  into  every  order  entrusted  to  us  —  large 
or  small. 

May  we  suggest  that  your  next  Catalog,  Booklet  or 
Circular  be  produced  under  his  supervision. 


The  Stetson  Press 

Incorporated 

Boston 


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(B139s22)476                                          University  of  California 

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